Issue link: https://digital.copcomm.com/i/941133
www.postmagazine.com 6 POST FEBRUARY 2018 BITS & PIECES MUNICH — At the recent BSC Expo in London, Arri (www.arri.com) unveiled a new large-format camera system. Based on a large-format 4K ver- sion of the Alexa sensor, the system comprises the Alexa LF camera, Arri Signature Prime lenses, LPL lens mount, and PL-to-LPL adapter. It is also compatible with existing lenses, accessories and workflows. Featuring a sensor slightly bigger than full frame, Alexa LF records na- tive 4K with Arri's best overall image quality. Filmmakers can explore a large-format aesthetic while retain- ing the sensor's natural colorimetry, pleasing skin tones and proven suit- ability for HDR and WCG workflows. Versatile recording formats, including efficient ProRes and uncompressed, unencrypted ArriRaw up to 150fps, provide total flexibility. "The larger Alexa LF sensor has the same optimal pixel size as other Alexas, resulting in a 4,448 x 3,096 image," says Marc Shipman-Mueller, Arri product manager for camera systems. "This doesn't just add defi- nition, it creates a whole new look — one that is truly immersive, with a three-dimensional feel. The various recording formats and sensor modes make this look available to all produc- tions and satisfy any possible deliver- able requirement." Accompanying the Alexa LF cam- era are 16 large-format Arri Signature Prime lenses, ranging from 12mm to 280mm and fitted with the Arri LPL mount. While the Signature Primes exemplify state-of-the-art optical pre- cision, they render organic, emotional- ly engaging images, gently softening and texturizing the large format. A fast T-stop of T1.8 facilitates shallow depth of field and the smooth focus fall-off gives subjects heightened presence in the frame. Optimized for large-format sensors, the new LPL lens mount has a wider diameter and shorter flange focal depth, allowing the Signature Primes and all future large-format lenses to be small and lightweight, with a fast T-stop and pleasing bokeh — a combination of features that would not be pos- sible with the PL lens mount. The LPL mount will also be available for other cameras and is being licensed to third-party lens and camera manufacturers. Although the camera, lens mount, and lenses are new, full compatibility with existing PL mount lenses and Alexa accessories is a cornerstone of the system's design. A PL-to-LPL adapter offers backwards compatibil- ity with all PL mount lenses, whether Super 35 or full frame. The first Alexa LF cameras will be shipped at the end of March 2018. The initial set of four Signature Prime lenses (35mm, 47mm, 75mm, and 125mm) will be shipped in early June 2018. The remaining lenses will be available over the course of the year. SANTA MONICA, CA — Timber (timber.net) re- cently provided visual effects services for The Middle, a three-minute music video-styled spot for Target featuring Maren Morris, Zedd & Grey. The video premiered during a commercial break in the 2018 Grammy Awards broadcast on Sunday, January 28th. The piece captures music artists Maren Morris, Zedd and Grey in their on-stage ele- ment, alongside dancers dressed in Target's red-and-white color scheme. An LED back- drop and flashing floor add to the energy. Under a very tight timeline, Timber collabo- rated closely with agency Mother in New York for the live-performance video. The project was produced by Radical Media, with Dave Meyers directing and Scott Cunningham serv- ing as director of photography. According to Jonah Hall, creative director/ partner at Timber, the project was a whirlwind for everyone involved. "Schedules are really short for most things these days, but the scope of this particu- lar project in this amount of time was really challenging," says Hall. "Timber was asked to 'book-end' the project. Our first task was to design and create the elevator exterior anima- tion that you see outside the glass windows as she rises upwards out of the hotel lobby and into the city skyline. We worked closely with director Dave Meyers, production designer Phil Messina and the whole team at Radical Media to work out a rear projection setup that not only looked convincing and visceral, but also lit our talented singer with specific colors and tones. We timed the visuals to the song, matching our tipping point to the exact mo- ment that we arrive onto the stage. It was very exciting to see it up there on the screen during production." Once this was accomplished, the Timber team jumped into the second phase of the operation to handle post, finishing and visual effects. "A big challenge was combining different pieces of the Target circle as seen from above," Hall explains. "A big, beautiful shot like that really speaks to the language of Target as a brand, so we were excited to be tasked with such a great image." Timber credits included Flame artists Todd Mesher, Scott Johnson, Tim Bird, Chris DeCristo, Andymac, and Federico Saccone, and artists Jon Lorenz, Brandon Lester and Jeff Willette. Jon Lorenz and Brack Hightchew handled CG. Brandon Harden, Brack Hightchew and Erik Rojas served as Flame as- sistents. Michelle Castillo was production coor- dinator. Nick Gilberg at Cartel handled the edit, and Lime provided audio post services, with Jeff Malen serving as mixer. Stefan Sonnenfeld at Co3 performed color correction. ARRI DEBUTS LARGE-FORMAT ALEXA LF CAMERA TARGET DEBUTS THREE-MINUTE SPOT Rear projection VFX Arri's new Alexa LF The climactic overhead shot